童雁汝南
每次讀莊子的文字，心境舒暢、廣遠。
“未嘗見全牛”
模特在我眼裏外形已融解，已經不是一個完完全全的形象。它只是高高低低、不斷延展、遊走跳躍的光斑，延綿起伏的丘壑。
純一：“管知止神欲行”
目擊而道存，眼睛直接、快速、掠取即逝的資訊。但思維已經沒有識別的可能，這時大腦實際也是一片空白。
每一筆都要和模特的呼吸相通。我、模特、筆，完完全全共呼吸，共同表達著每一處、每一時刻、每一神情最微妙的變化。正面的形象，空白的背景，不變的畫框，以不變去迎接瞬息萬變的世界。我繃緊身體，攢聚精神，以虛靜的心，等著一切可能的到來……尋佛佛不在，但真實四處瀰漫。
能夠引人心動的東西就那麼一點點，能夠和宇宙發生通感的時刻就可能那麼一會會，就這一點點和一會會是我畢生的探求。
自在：“遊刃幾有餘地也”
形狀與形狀在光色中結合，它們搭建在一起，融合到一處，又游離開來；它們翻轉又交錯，它們隔離又復疊。它們穿插又結晶。“空”在形狀之間流轉、遊走。一光一暗，重唱流轉。兩極之間的空，是感性的豐滿,是存在的充溢。
游動的筆觸，時而像堅石，時而像波影。我的筆，有解放而來的自由感、充實感。越是自由，越是真理可能即將降臨。
Skilled and Magical Craftsmanship – Personal Comments on “Journey” in the Painting
Every time I read about the philosophy of Zhuangzi, I am entirely free from worry with a far-reaching mind.
“Supremely skilled”
The figure of the model has disappeared in my eyes, no longer to be a complete image, leaving just uneven, extended and bouncing light spots, as well as rolling gullies.
Purity: “Senses halt, but spirit moves on.”
Eyes can directly and rapidly obtain fleeting information, but thought is unable to catch up, and mind goes blank.
Every stroke needs to be interlinked with the model. The model, the brush and I interlink with one another at all points, to jointly portray the subtlest change of every detail, every instant and every look. The obverse image, the blank background, and the changeless frame, all receive the constantly changing world with constancy. I tensed myself and concentrated, to wait for any possibility with a tranquil heart... The Buddha is nowhere to be found, but truth permeates.
There is only a bit fascinating, and only a while of synaesthesia with the universe, but the bit and while are what I pursue all my life.
Unconstraint - accomplishing a task with ease.
Figures blend one another between light and color, to be constructed and fused, but dissociated as well; they are overturned and interlaced, but also isolated and overlapped. “Space” flows and migrates between figures, in light and darkness. The space between two ends is abundant in sensibility and overflowing in existence.
Vagrant strokes are sometimes like solid rocks or ripples. My brushes have the sense of freedom and fulfillment from emancipation. The freer they are, the more possible that truth is approaching.